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Practice Routines with the Horns



 
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trumpet56
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PostPosted: Sat Oct 01, 2022 10:35 am    Post subject: Practice Routines with the Horns Reply with quote

Hi Heralders this post is not about warm ups, exercises etc,. Its all about the horns. Having a full time studio teaching beginners fundamentals I have limited time practicing all of my trumpets. I have devised a way to address my different trumpets over a week routine. This includes rotary trumpets as well.

DAY1 The Bb's . This includes a NY Mt Vernon MLV's Bach's and rotaries Heckel and Monke.
DAY 2C's , including a Bach Tottle Phone (ex Ghitalla horn) and a Yamaha Rotary.
Day 3 D/Eb's including a Bach long D/Eb, B&S 4 valve Eb/E, Rotaries; Ganter D/Eb, Mirafone Eb.
DAY4 PICCOLO'S Schilke GL1 E/F/G, Yamaha 991 A,Bb,C (Brandenburg), Scherzer A/Bb.
DAY 5 Egger Baroque Trumpet.

This way I keep the neural pathways fresh and ready for battle. Resistance is the name of the game.
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Brassnose
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PostPosted: Sat Oct 01, 2022 10:02 pm    Post subject: Reply with quote

That’s about what I do, only I skip the C, D/Eb, picc, and baroque 😜 and just go between the Bach, the Schmidt, and the bass trumpet, a day for each. I don’t usually practice flugel because I barely ever use it these days for gigs. Usually take it out a few days before THE day.

A C is in the works, so that will be included in due time, I hope.
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Manuel de los Campos
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PostPosted: Sat Oct 01, 2022 11:43 pm    Post subject: Reply with quote

I practise daily my Bb trumpets since I discovered that there still is room for progress
The C-trumpet I practise when I need it. The difference between the Getzens and the Courtois C is not that big so I don't bother.
Since I got a reprimand from the conductor of our renaissance orchester I practise daily my cornetto after the Bb practise session
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ayryq
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PostPosted: Sun Oct 02, 2022 2:48 am    Post subject: Reply with quote

Replying here instead of facebook.

Looks like a smart plan, except I couldn't handle playing a day of all-picc; I presume you play a fair amount of Bb during lessons, but if it were me and I had that amazing stable of horns I think I'd put a different picc on each day along with a bigger horn.

I'm in school at the moment so practice has to involve the stuff I'm playing, on the horns I need for it. So Bb, C, D, A-picc and cornetto every day right now.

For transposition practice I have a blank six-sided die that I labeled Bb/C/D/Eb/A picc/Bb picc; I roll it and that's the horn I grab. Except I'm lazy and don't usually switch slides on the D/Eb. (The transposition key is determined by a separate 12-sided die.)
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mr oakmount
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PostPosted: Sun Oct 02, 2022 4:26 am    Post subject: Reply with quote

Here comes the boring guy ...

I practice on an old Jupiter Tribune Bb trumpet. I can take it to work if I know I'll have a long break, I use it for outdoor gigs. I don't mind leaving it in the car. I know, if I sound good on this one, I will sound good on anything else I have at home.

Then 1 to 2 weeks before a gig (I only play about one "serious" gig a month) or whenever the rehearsal period starts, I will pick the right trumpet for the job, be it Bb, C, Piccolo, Flugel or Rotary and almost play it exclusively so I can fine tune the blow, resistance and intonation.

If I haven't played an instrument in a long time, I will get it out when I have nothing important to prepare for and play it for a week, then clean, dry and oil it and put it back in the case.

This works a lot better for me than rotating instruments on a daily basis, but then I guess some pros have to perform at very short notice and need to be prepared for anything that e.g. a studio gig throws at them.
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trumpetchops
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PostPosted: Sun Oct 02, 2022 6:11 am    Post subject: Reply with quote

mr oakmount wrote:
Here comes the boring guy ...

I practice on an old Jupiter Tribune Bb trumpet. I can take it to work if I know I'll have a long break, I use it for outdoor gigs. I don't mind leaving it in the car. I know, if I sound good on this one, I will sound good on anything else I have at home.

Then 1 to 2 weeks before a gig (I only play about one "serious" gig a month) or whenever the rehearsal period starts, I will pick the right trumpet for the job, be it Bb, C, Piccolo, Flugel or Rotary and almost play it exclusively so I can fine tune the blow, resistance and intonation.

If I haven't played an instrument in a long time, I will get it out when I have nothing important to prepare for and play it for a week, then clean, dry and oil it and put it back in the case.

This works a lot better for me than rotating instruments on a daily basis, but then I guess some pros have to perform at very short notice and need to be prepared for anything that e.g. a studio gig throws at them.


This is what I do, although not the best idea, it's what I can do to keep playing. I don't have a beater trumpet in the car. I've found that the cheepo trumpet has notes out of tune and resistance changes which causes you to compensate. Then when you pick up the real trumpet the compensating doesn't go away.

If I had jobs with the other trumpets on a regular basis, I would figure out a way to play them every day.
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trombahonker
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PostPosted: Sun Oct 02, 2022 6:19 am    Post subject: Reply with quote

I cycle the five core horns - Bb, C, Eb, Picc, and rotary C, into my daily foundation routine in different places. Throughout the week I’ll play a lyric etude or study of some sort on Bb and C cornets, Bb rotary, and flugel.

When something substantial is programmed for a specific horn (ie Berlioz cornet, Bach piccolo) I’ll spend more time in the week before that program playing that horn in the style needed. This seems to be enough to keep them all fresh.

-Aaron
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mr oakmount
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PostPosted: Sun Oct 02, 2022 7:06 am    Post subject: Reply with quote

[quote] trumpetchops wrote:
This is what I do, although not the best idea, it's what I can do to keep playing. I don't have a beater trumpet in the car. I've found that the cheepo trumpet has notes out of tune and resistance changes which causes you to compensate. Then when you pick up the real trumpet the compensating doesn't go away.[/quote]


True. Luckily, the Jupiter is actually not too bad. The blow and intonation is similar enough to my Yamaha 6335HG. It is just a bit tighter and tinnier, but not horribly so.
The very reason why I like to stay on one (or few) instruments when I prepare for a gig is exactly that I need to get used to the strengths and quirks of the chosen instrument.
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dstpt
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PostPosted: Sun Oct 02, 2022 9:21 am    Post subject: Reply with quote

In an interview (I think Sarah's Horn Hangouts), Chris Martin mentions playing all of his horns every day. I guess that's a solid approach. It seems if we at least pick up and play a little bit on a trumpet in each key every day, every other day, or every few days, it's much better than going a few weeks (or months!) of not touching one key/horn. Although I never got into natural trumpet, I certainly admire those who do play it. Instead, I decided to invest in three custom flugelhorns for our weekly in-home worship settings.

Another way to mix things up is to occasionally play different mouthpieces on various pitched horns. For instance I may do a little practice just above the staff on E-flat tpt with a small (shallow) mpc for those special soft solo moments that sometimes pop up in an exposed early morning church gig after a late musical the night before. Practicing these alterations can come in handy. In the YouTube interviews of Charlie Geyer by local colleague and trombonist Thomas Hultén, Mr. Geyer mentions that during his time in the CSO, he would occasionally look over to see what mouthpiece Bud Herseth was playing, only to see Bud quickly cover the mpc with his hand, so that he couldn't see it! I find that an interesting story...on many levels! But my point here, is how even the legendary Bud Herseth did not use the same mpc all the time! Mix it up.

Another thing that can keep us out of ruts is to spend quality concentrated time working on a particular technique or even a specific key or even single note. Today, I'm spending time on concert Db...the low Eb on Bb tpt, then the concert Db on C tpt, then the low Bb on Eb tpt...etc. Then I'll spend time playing various approaches to that note at varied dynamic levels and articulations...even leaps from high register pitches to that note. Can I easily center that note at all times? Can I get maximum resonance with ease of blow on that pitch with different mpcs? Just another way to mix it up in our practice and maintain sufficient familiarity with all of our equipment.
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